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<p>The current study highlights application of a novel statistical algorithm as proof-of-concept in detecting musical passage similarity via the construction of a unique difference-score dataset, comprised of MIDI-note (Musical instrument digital interface) value differences, and the ‘empty spaces’ (pixel distances) between printed musical score notation elements. Using the well-known case of Skidmore vs Led Zeppelin (Leo, J Am Musicol Soc 77(2):303–333, 2024), brief musical scores of the songs ‘Taurus’ and ‘Stairway to Heaven’ were compared via bootstrapping (resampling) analysis of a uniquely engineered difference-score dataset. Results indicate no-difference between the musical scores of interest, thus supporting a ‘plagiaristic’ outcome when analysis is based solely on quantitative data values derived from MIDI-note data, and temporal physical space characteristics between notes on a musical score. In addition, six other well-known plagiarism cases, including former Beatle George Harrison’s (1970) song ‘My Sweet Lord’ vs ‘He’s So Fine’ by The Chiffon’s (1963), a plagiarism case from 1981 (Perot, Berkeley J Entertain Sports Law, 14, 2025), are also subjected to the novel MNV-ESV algorithm.</p>

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Taurus vs stairway to heaven: a novel MIDI-note empty-space dataset algorithm to detect music plagiarism

  • 期刊论文

  • 发表日期：

    2025年12月29日

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  • Jeffrey N. Howard

摘要

The current study highlights application of a novel statistical algorithm as proof-of-concept in detecting musical passage similarity via the construction of a unique difference-score dataset, comprised of MIDI-note (Musical instrument digital interface) value differences, and the ‘empty spaces’ (pixel distances) between printed musical score notation elements. Using the well-known case of Skidmore vs Led Zeppelin (Leo, J Am Musicol Soc 77(2):303–333, 2024), brief musical scores of the songs ‘Taurus’ and ‘Stairway to Heaven’ were compared via bootstrapping (resampling) analysis of a uniquely engineered difference-score dataset. Results indicate no-difference between the musical scores of interest, thus supporting a ‘plagiaristic’ outcome when analysis is based solely on quantitative data values derived from MIDI-note data, and temporal physical space characteristics between notes on a musical score. In addition, six other well-known plagiarism cases, including former Beatle George Harrison’s (1970) song ‘My Sweet Lord’ vs ‘He’s So Fine’ by The Chiffon’s (1963), a plagiarism case from 1981 (Perot, Berkeley J Entertain Sports Law, 14, 2025), are also subjected to the novel MNV-ESV algorithm.